Bosgraaf records Boulez
A new recording of the carefully refined, endlessly revised oeuvre of Pierre Boulez is always worth celebrating, but this one stems from a source hitherto unknown in the composer’s own instrumentarium: the recorder. In 2011 Boulez granted special permission to the Dutch recorder virtuoso Erik Bosgraaf to make his own transcription of the spectral adventure in musical space that is Dialogue de l’ombre double, originally composed for clarinet (and pre-recorded/live electronics). A later piece along similar lines, Anthèmes II for violin has become better known, but Dialogue weaves its own theatrical magic.
Boulez’s eyesight is sadly reduced as he approaches his 90th birthday, and his compositional activity is at a standstill, so this new transcription is a moving celebration of the composer’s decisive contribution to postwar culture, and one to which he has happily given an imprimatur, as Bosgraaf writes in the booklet: “I noticed that Mr Boulez liked the texture right away. And he told me why. It reminded him of the origin of the piece, which was a rain song in South East Asia, where they applied a similar kind of melody technique with the human voice.“
To complement Dialogue de l’ombre double, Bosgraaf and Tamminga have created their own Dialogues between acoustic and electronic media which they call ‘Comprovisations’, in which little is written down, but much agreed beforehand thanks to the deep understanding and seven-year partnership between the two musicians. Tamminga uses software (and it should be remembered that nearly all sophisticated music software owes its origin to the work of the French institute IRCAM established by Boulez as a centre of acoustic and electronic research) to capture, mutate and feedback Bosgraaf’s recorder. As Bosgraaf remarks of this fascinating release, “The food is freshly prepared every time; it doesn’t come out of the microwave.“
The world premiere of an important work by Boulez, in a new arrangement!
Recorder virtuoso Erik Bosgraaf was personally granted permission to arrange for recorder Boulez’ “Dialogue de l’ombre double”, originally for clarinet and electronics. Bosgraaf says: ‘I noticed that Mr Boulez liked the texture right away. And he told me why. It reminded him of the origin of the piece, which was a rain song in South East Asia, where they applied a similar kind of melody technique with the human voice.’ The result is a dynamic interplay between Bosgraaf’s recorder and the fascinating electronic timbres and colours.
The second work on this release is a musical dialogue between Bosgraaf and electronic wizard Jorrit Tamminga, creating unheard-of sounds of the recorder interwoven in electronic sound tapestries.
A great addition to the Boulez discography! And a testimony of the versatility of Erik Bosgraaf, equally at home in Baroque as in contemporary music, always curiously finding new expression possibilities for his instrument.
Recorder player Erik Bosgraaf records Vivaldi's Four Seasons
Vivaldi's Four Seasons is one of the world's most popular and widely recorded collections of music, a set that instantly became an international hit after it was first published at part of the composer's Op.8 in 1725. No doubt it was its imitative directness -- extra musical occurrences/phenomena evoked in an extremely suggestive manner and even written into the score, such as 'the barking dog' or 'the drunkards' sleep' etc. -- that caused such as sensation in its time, effortlessly bridging the gap between the salons of the highborn and the alehouses of the lowly. Today nothing has changed: the concertos are performed both by great violin virtuosos and famous hard rockers; they are works that are constantly being presented in new guises through the re-imagining and re-working of the musical score.
Such is the standpoint adopted on this recording by Erik Bosgraaf, who has chosen here to adapt the violin part for recorder, explaining how 'the violin part can be played on the recorder with surprising ease, without many changes. In some ways it works even better than concertos Vivaldi wrote specifically for the recorder!' Years ago Bosgraaf performed The Four Seasons with a symphony orchestra; for the present album, however, he wanted to approach his ideal as closely as possible using Cordevento, a small baroque ensemble he founded himself, knowing all the musicians through and through. Bosgraaf's aim is to make the four legendary concertos sound as if they had been written for the recorder in the first place -- and the results are laudable, with the contrasts between the wind instrument and the accompanying strings revealing previously unheard stratifications and details. As the soloist himself puts it, 'Listen to Vivaldi with fresh ears and enjoy!'
World premiere Origami Songs by Anna Meredith
Commissioned by BBT, Origami Songs is the title of a new work by Anna Meredith composed for Dutch recorder phenomenon Erik Bosgraaf, scored for strings, harpsichord, clarinet, trombone and percussion. Bosgraaf will play a different recorder from his extensive collection for each of the five 3-minute 'songs', themed on the basic sets of folds that are the foundation for the classic origami sculptures such as bird, kite and frog. Principals of the Aurora Orchestra support Bosgraaf for the world premiere, featuring BBT artist Mahan Esfahani on harpsichord.
09/02/2013 Erik releases mesmerizing cross over album with Yuri Honing (saxophone), Raphael Vanoli & Stef van Es (electric guitar), Mark Haanstra (bass) and Joost Lijbaart (drums)
150 words about Hotel Terminus
by Henkjan Honing, professor of music cognition and author of
"Everyone is musical. What we know about listening to music "
"Even lazy on the couch, listening to music is an active occupation. Music plays with your expectations, emotions and memory. Music violates or confirms those expectations (to where leads this melody?) but can also simply be intangible, like a piece of wet soap. It is the interaction between the music and the listener that makes a listening experience so special.
Little music makes so cunningly use of the cognition of the listener as Hotel Terminus. The crisp and rich audio recordings reveal themselves gradually as the soundtrack to a movie that have not yet been made. A resourceful, by electro-acoustic instruments assembled darkness that still permeable and is understandable. From piercing painful to gracefully lyrical, and fed by a slow and compelling harmony filled with distilled remnants from the Baroque.
This is an album for listeners looking for adventure, for listeners to which one listen is not enough. Let your expectations be violated and rejoice in the traces of these cathartic darkness will leave in your memory. "
7/9/2012 New CD in store now
La Monarcha: 17th Century Music From The Spanish Territories.
19/12/10 Dutch Music Prize awarded to Erik Bosgraaf
Erik will receive the prize on the 21st of February in the Muziekgebouw in Amsterdam during a concert with the Dutch Chamber Orchestra. This was announced by the Performing Arts Fund last Thursday. The Dutch Music Prize is the highest Dutch state award for classical music, awarded by the Dutch ministry of culture. The prize was previously awarded to (among others) violinist Janine Jansen, pianist Ronald Brautigam and cellist Pieter Wispelwey. Erik is the first recorder player ever to be awarded the prize.
27/10/11 Bach Concerti CD out!
Eriks latest CD was just released. It is available worldwide in shops and with online retailers. Listen to samples
Hailed as one of the most gifted and versatile recorder
players of the new generation, Erik Bosgraaf has a colourful past in a